Fabio Faoza - architects

01 - Longevity of fine art prints

Framed and handled properly, fine art prints can reach a longevity of over 200 years.
However, talking about the durability of fine art prints in Megalux-hours is the most technical way of evaluating resistance to fading by light. In addition to time, the amount of light received is decisive for the length of the print's useful life.

There are criteria for classifying durability to light. They are called Conservation Display Ratings or CDR and they inform the limits of Megalux-hours that a print can withstand and still remain in excellent condition, that is, where “little or no noticeable fading” is observed.

The most stringent conservation display ratings are important to serve as expert guidance for collectors, curators, conservators and artists who seek to ensure the highest standards of handling, storage and display of works of art in their care, so that the original intention of the artist is preserved.

Fine Art Printing is the process of transferring digital art to high-quality papers with mineral pigment inks. It has been used worldwide by artists and is required by the most renowned collectors, decorators, museums and galleries. It is defined by the longevity, conservation and preservation of prints, without loss of quality, color change or fading of inks and paper, when stored in appropriate conditions.

The Fine Art standard requires three elements: certified and standardized paper or canvas, mineral pigment inks and a special printer with a modern color management system.

The entire printing process requires special care, such as strict management of equipment and supplies used.

Since the material used is extremely delicate, handling should only be done with gloves to avoid the risk of your work of art suffering from any more aggressive marks.

Due to all these specificities, Fine Art prints become true works of art, with high-quality reproduction, more vivid colors and resistance to time.

02 - Compatibility: paper and ink

The Freestylephoto website has a table with several manufacturers and types of paper, their characteristics, compatibility with the type of ink (dye or pigment) and the rating they give to each one. It is worth learning a little about this universe.

To know the recommendations and criteria that produce a long-lasting work, there are some tests that simulate years of exposure to light and the fading of the image on the paper can determine the longevity of the printed image.

Research and Testing: Aardenburg Imaging and Archives is a non-profit organization that conducts research and testing related to imaging and printing. You can register for free and have access to reports and other materials. They are quite technical, but cover several printer models and the most varied types of paper.

03 - Assuming some definitions

Even though they are not unanimous, art and its meanings have always followed nebulous paths, with several divisions and categories. One of these divisions is the one that separates applied arts from fine arts: simplifying a lot, the former would be the production of aesthetically pleasing and creative objects, but of practical, everyday and functional use, while fine arts would be the activities that aim to produce items intended for intellectual stimulation.

The division is not always so clear, because architecture is considered one of the fine arts, while engineering would be applied art (or skill) – and both are involved in the construction of a building, for example.

On the other hand, crafts such as photography or printing (which after Gutenberg also began to have more utilitarian purposes than the production of engravings) have always had one foot here and the other there, needing to resort to prefixes to define their use; Terms such as “commercial printing” and “fine art printing” show the usefulness of this printing and the degree of care and skill invested in its creation.

In the expression “fine art printing”, the skill and nobility (the “fine” in the question, inherited from the times when art did not separate beauty from skill) is linked to the printing process, not to what is being printed. Despite this, what exactly will be printed has a huge weight in defining the usefulness of the final object, which makes this division between “fine art” and “commercial” somewhat foolish if we return to the original definitions of fine arts and applied arts; but the expression has caught on, and it has its uses.

Illustrations are produced for the most diverse purposes: some are ephemeral by nature and reside in media that are difficult to control in terms of color and reproduction quality, such as illustrations for magazines or even for websites; others are made to last as long as possible and meet high requirements for color, detail and quality – they are collectors' items, valuable financially or emotionally.

Fineart printers are skilled printers, specialized in one or more noble image reproduction technologies – they use high-quality materials and complex processes to ensure highly durable and faithful prints.

Interesting examples from the analog era are the famous English studio 31 Studio, specialized in platinum and palladium prints, and responsible for wonderful prints from the Genesis series by photographer Sebastião Salgado; the author and printer Ctein, extremely skilled in the pigment transfer and Cibachrome (now Ilfochrome) processes used in printing chromographs; the legendary Atelier Fresson, creator of its own carbon pigment printing technology; and the Brazilian laboratory technician Silvio Pinhatti, specialized in black and white enlargements on photographic paper and silver gelatin.

But what about the digital era? Are there noble printing processes for printing digital files directly, without the need to produce a negative?

Yes. Inkjet printing – the same one from your office printer – has evolved considerably, to the point of becoming a high-quality and durable process; not every inkjet printer can do this, only models designed for the task, and fed with specific inks and noble papers. But the result is impressive and produces prints that can survive more than a century, if properly handled.

Some call this noble inkjet system “fineart printing” in and of itself, while others use the term “giclée” (which means “spray” in French, so it would be equivalent to the term “inkjet”) to distinguish the digital process from analog fineart printing. And how are these machines different from the good old multifunction that I have on my desk? Although there are giclée printers (although the term is not universal, I will adopt it here in the article so that the text is clearer) in conventional A4 format, most print in larger formats; the largest ones reach more than a meter across and print on rolls of paper, which would allow for huge 3x1 meter panoramas, for example. Even when printing on larger surfaces, the ability to reproduce detail remains unchanged, which makes the process very advantageous in creating large prints.

Printers

Color reproduction is a separate chapter: while our printers use only four colors (cyan, magenta, yellow and black), giclée printers use a much wider variety. The HP Designjet Z3200 – other printer manufacturers in this field include Epson and Canon – uses 12 different types of ink, including two types of black and a type of varnish. The result is that prints can achieve colors that are impossible to obtain with other types of digital printing. The colors are also highly durable, because the inks are based on pigments, not dyes. Mineral pigments are much more chemically stable and resistant to the effects of time, although they are much more expensive and require greater care when using them than dyes. Inks used in giclée comply with rigorous controls for consistency, hue and durability, which means that one batch of ink is always very close to another.

And last but not least, the paper: papers used in this type of printing must meet several requirements for consistency (one batch must behave in the same way as another), durability (it must be very chemically stable and not degrade or yellow easily) and composition (so that it always receives the ink in the same way, maintaining a standard of colors and contrast).
So it is only natural that the production of these papers is the specialty of those who already produced good art papers before the digital age. Traditional manufacturers such as Canson, Hahnemuehle, Harman and Somerset produce most of the fine art papers on the market, and they are often the ones who assess the structure of the studios that produce giclée prints, granting certifications to those that meet their handling specifications.

04 - Collecting

Fine art collecting can be a great option for collectors.

Collecting is an activity that improves our ability to select, organize, recognize patterns and deviations, and brings us satisfaction and good memories as a collection transports us to very fond places in our memory.

As neuroscientist, psychologist and collector Daniel Krawczyk explains in his TED talk on collections, “the human brain is programmed to collect things”.

Maria Isabel R. Lenzi [1] informs us that:
“Collecting is a universally widespread activity. Krzysztof Pomian defines a collection as a set of objects kept outside the economic circuit and stored under special protection, often exposed to the public eye. He also points out that some collectibles are a source of aesthetic pleasure, others allow the acquisition of knowledge and that the fact of owning a collection confers prestige, as it testifies to the taste, intellectual refinement, or even the wealth or generosity of the collector. It is the social hierarchy that inevitably leads to the emergence of collections.”

When it comes to art collections, we immediately imagine the great collections of museums, galleries and other institutions. But the truth is that we don’t need to live in the great collections. We can create our own gallery in the comfort of our own home, and fine art is an excellent choice for this.

Obviously, we cannot ignore the financial aspect of a collection; it is an investment, yes. But we also cannot forget the social aspects of works of art. They move an entire ecosystem made up of institutions, artists, studios, schools, students, teachers, workers in general and social actions. Many lives are impacted by the production of works of art.

The coexistence and the very existence of these places and activities directly affect society.

Memory is essential for a people, and art is one of the main ways to preserve this memory.

Perhaps what we call art today emerged with a much more utilitarian character, much more focused on our need to record our learning and ensure the survival of our species.

Techniques and uses have evolved, but their importance, even if not immediately perceived, remains stronger than ever. We still learn a lot from images and, today, more than ever, we are surrounded by them.

If looking at a work on the wall still inspires admiration in us, it is because we have never forgotten, deep down in our cells, that images were our salvation and still are.

05 - Seven Myths About Fine Art

There are a few myths about fine art that create misconceptions about the world of fine art and the art world in general.

The magical world of fine art has captivated admirers and artists for centuries. However, as with any field, myths and misconceptions can arise and cloud our understanding of this fascinating world. Here are some of the most common myths about fine art.

Myth 1: Fine art is inaccessible
A common misconception is that fine art is reserved for the elite only. In reality, there are affordable options and a variety of formats, allowing art lovers of all budgets to appreciate and collect fine works.

Myth 2: Only art experts can understand
Appreciating fine art does not require a degree in art history. Each person has a unique and valid interpretation of the work. Therefore, the beauty of art lies in the diversity of perspectives, and anyone can immerse themselves in this world without fear.

Myth 3: Fine art is limited to classical paintings
While classical paintings are an important part of fine art, the contemporary world has expanded its horizons. In addition to high-quality photographs, digital prints and modern sculptures, there are a variety of other art forms that are also part of this vibrant scene.

Myth 4: All art prints are created equal
Don’t be fooled into thinking that all prints are created equal. Quality varies significantly, as fine art prints are produced using careful techniques that ensure durability and fidelity to the original work.

Myth 5: Fine art does not fit into modern environments
Contrary to the myth, fine art can perfectly complement modern environments. Therefore, with a variety of styles, colors and themes, it is possible to find a fine art piece that fits into any contemporary decor.

Myth 6: Fine art artists do not innovate
Fine art artists are constantly innovating and experimenting. As such, new techniques, materials and themes emerge regularly, challenging expectations and keeping fine art as exciting as it has always been.

Myth 7: Fine art has no investment value
Contrary to popular belief, fine art can be an excellent form of investment. The value of some works can increase over time, becoming a valuable asset.

Conclusion
Dispelling these common myths about fine art is crucial to truly appreciating the diversity and richness of this world. By doing so, more people can feel inspired to explore, collect and fall in love with this unique form of expression.
Fine art is for everyone, and its beauty is within reach of those who dare to delve into this wonderful creative universe.

06 - How much does a Fine Art print cost?

Fine Art printing is not a cheap process, especially in Brazil.

The level of demand in handling, color control and the high cost of equipment and supplies end up being reflected in the cost of the final product.

The price charged for Fine Art printing is also proportional to the skill and reputation of the printer; although giclée printing is not nearly as complex and artisanal as its analog counterparts, it still requires a skilled and perfectionist printer – digital printing is not as simple as it seems, and preserving the original characteristics of the image in a high-quality print can be a challenging task.

But the product is not made by printing alone: even for the author, a certain period of adaptation is necessary to assimilate the process. A greater technical demand, a certain experience with color management and image processing software, and good research into materials – the paper options are immense, and each one has a specific white, a certain texture and reproduces contrast and color differently.

Paper prices depend on the printed area, the amount of paper involved and the variety used – price differences can be striking between papers from the same manufacturer.

The number of prints of the same artwork (numbered or unnumbered series), certification and the hand-signed signature of the author are also important factors in determining the price.

07 - Bibliographic References and Sources

[LENZI, Maria Isabel R. Coleção Gilberto Ferrez. In: CAVALCANTI, Ana; OLIVEIRA, Emerson Dionisio de; COUTO, Maria de Fátima Morethy; NETO, Maria João; MALTA, Marize (orgs.). Anais eletrônicos do II Encontro do Grupo MODOS/ II Colóquio Internacional Coleções de Arte em Portugal e Brasil: Histórias da arte em coleções – comunicações. Rio de Janeiro: EBA-UFRJ, 2016, p.20-31. Disponível em: http://www.eba.ufrj.br/index.php/2012-05-25-09-39-48/edicoes-eba
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